Village Voice's Scores

For 8,878 reviews, this publication has graded:
  • 38% higher than the average critic
  • 4% same as the average critic
  • 58% lower than the average critic
On average, this publication grades 6.7 points lower than other critics. (0-100 point scale)
Average Movie review score: 55
Score distribution:
8,878 movie reviews
  1. Patterson seems more concerned with getting the surfaces right (costume design, production design) than tapping any of the adrenaline that should be pumping through bank robberies, love scenes, and confrontations with barking loan sharks — adrenaline we should feel even if the protagonist is meant to be cucumber-cool.
  2. Shallow, witless but pretty enough French ode to Woody Allen.
    • 27 Metascore
    • 30 Critic Score
    Whatever her limitations, Argento the actor makes certain that Argento the director doesn't lack for "action"--and that the audience doesn't lack for pain.
    • 33 Metascore
    • 30 Reviewed by
      Ed Park
    The story has too many characters, about whom we know too little.
  3. The Cruise is being hailed as a harbinger of a future in which indie film will be liberated by low-cost technology. If this is where we're going, I want off the bus.
    • 57 Metascore
    • 30 Critic Score
    Stilted lines alternate with ominous pauses and an annoying Pure Moods score tinkling around an oppressive sound design.
  4. No amount of neck nuzzling or back arching can make us believe there's real heat rising between these two. Onscreen chemistry between actors is a mysterious thing - 100 years into cinema, it remains the one story element that Hollywood can't fake.
  5. Absolution is an unconvincing showcase for Byron Mann, a new action star to whom Steven Seagal halfheartedly tries to pass a torch.
  6. You can sense the director, Sarah Smick, gearing up to make a point. It proves rather obvious: Real connections are meaningful and too much Facebook is bad. But isn't the real problem more insidious?
  7. At its most indulgent and posturing, Piñero plays like a movie the man himself might've made, between scores.
    • 49 Metascore
    • 30 Critic Score
    Myles deserves better, but acquits herself as admirably as one can mired in medieval muck.
  8. Yim's film is kneecapped by its soundtrack twice over.
    • 45 Metascore
    • 30 Critic Score
    The just plain folks in Home Fries -- down home, slightly slow, and desperate for happiness -- would make great Jerry Springer Show guests if they weren't so damned pretty.
  9. Outrageously sentimental and retrograde.
  10. Allegiance to Chekhov, which director Michael Cacoyannis displays with somber earnestness in the new adaptation of The Cherry Orchard, is a particularly vexing handicap.
  11. Weixler is an alert, mobile comedienne who deserves better than this awkward pause, nervous stammer, social-anxiety comedy.
    • 38 Metascore
    • 30 Critic Score
    The stream of sentimentality is endless and often sickly, and the warm afterglow is decidedly manufactured.
  12. The overweight, gays and little people are cheerfully mocked while writer/director Siddique ratchets up his story's disparate comedy-romance-action elements to an insanely over-the-top degree.
  13. The exhausting and unrelatable Our Day Will Come escalates to a violent rampage as essentially unpleasant and nonsensical as its characters.
  14. The Coens are uncharacteristically restrained. Indeed, given that the crime comedy is their preferred genre, The Ladykillers is remarkable mainly for its timidity.
  15. If the onscreen serial killer isn't having fun, how can we?
    • 52 Metascore
    • 30 Critic Score
    A once-great director's near-worst work passes through its funhouse plumbing and emerges from the crapper as intentional mischief: self-sabotage explained away as mad genius.
    • 45 Metascore
    • 30 Critic Score
    Eurotrip's constant anxiety that women might turn out to be men and vice versa makes this command especially fraught.
  16. The dramatic stakes are so puny that every obstacle can be overcome with a simple work-it-out montage.
  17. Fairbrass proves a hulking wannabe ass-kicker without much distinctive charisma, and his leaden performance is matched by sleepy, one-note supporting turns by the slumming-it Patric and Caan.
  18. Videocracy is hopelessly infected with the very prurience it means to expose--again and again, Gandini returns to images of pretty women grinding away for the camera in hopes of scoring their 15 minutes.
  19. The phoniness of their cross-country saga is compounded by a gaggle of cipher sidekicks.
  20. Requiring an enormous amount of suspended disbelief, the original Rings may be a culture-specific phenom; despite strenuous efforts to Americanize Nakata's field of bad dreams, the preview audience did a lot of cackling.
  21. It's pure exploitation--the kind of movie after which you need a long, hot shower. German director Marco Kreuzpaintner's movie looks like "Traffic" and "Syriana"--clearly his role models--but is little more than our generation's version of 1979's "Hardcore."
  22. McPhee's latest saga neither conjures the humanistic heart of "Babe" nor addresses father-son separation issues with the sobriety of "The Water Horse." Instead, it's merely a compendium of photocopied elements, cartoonish special effects, and easy-bake happily-ever-afters.

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